What: A vibrant outdoor gallery featuring works by six talented artists, celebrating themes of joy and community. Where: Thomas Street, Crane Street, and Market Street in Dublin 8, showcasing large-scale murals and printed works. When: Launching March 15th, 2024, and running for three months. Why: Part of St. Patrick’s Festival 2024, bringing art, vibrancy, and a sense of community to Dublin 8 in collaboration with the Guinness Storehouse, the Digital Hub, and Dublin City Council. Curated by: Good Shout Studio, a Dublin 8-based creative agency.
Featured Artists
Claire Prouvost: A French muralist based in Dublin, Claire’s work is known for its bold, joyful characters and dynamic use of colour. She often explores themes of community, celebration, and the energy of urban life.
Sophia Vigne Welsh: Sophia creates visually striking abstract works that explore nature, colour, and the interplay of light and form. Her pieces evoke a sense of renewal and optimism.
Mark Conlan: This artist playfully reimagines Dublin’s architectural landmarks with a whimsical touch. He often blends natural elements into urban landscapes, creating a sense of wonder and connection with the city.
Ruan van Vliet: Ruan’s distinctive style features playful, cartoon-like characters with a contemporary edge. His works explore the concept of modern-day “cowboys” within the context of Dublin 8, finding unique stories within the urban landscape.
Bebhinn Eilish & Gavin Connell: This creative duo combines Bebhinn’s delicate, ethereal illustrations with Gavin’s bold, graphic style. Their work often explores themes of nature, interconnectedness, and the transformative power of art.
Gavin Connell: Gavin Connell is a 26-year-old illustrator/designer based in Dublin, Ireland. His style is made up of his main inspirations such as vintage comics, 1930’s animation, old school rave posters and contemporary illustration/character design. Graduating from NCAD in June 2018, he went straight into freelancing and working for himself. He worked closely as a junior designer with John Slade of H.Y.T Studio 2017-2018 on jobs for large brands such as Nike and Vans where he learned a lot of technical skills.
How to Experience A Better City
The gallery is designed to be enjoyed by simply walking along the designated streets. Follow the trail and discover the artworks.
A PERSONAL DISCUSSION ABOUT ELECTRONIC VIEWFINDERS AND REAR SCREENS
I started out with the Sony NEX-5 and had no real problem with the fact that there was no EVF. Later I purchased a Sony A7R and loved using the EVF and never used the screen for photography. Eventually I decided that I would never get a camera that did not have a top class EVF. As soon as it became available I purchased a Sony FX30 and until it arrived I did not realise that it did not have an EVF. After using it for more than a year I have formed the view that Using an EVF and depending only on a back screen/back-panel encourages two different styles, equally valid, of photography.
Here’s a breakdown of how EVFs (Electronic Viewfinders) and back screens can influence different photographic approaches:
EVF Photography: The Immersive and Deliberate Approach
Isolation and Focus: Using an EVF blocks out ambient light and distractions. This allows for heightened focus on the composition within the viewfinder.
Pre-visualisation: EVFs show real-time exposure adjustments, effects, and focus peaking. This gives photographers a precise pre-shot view, facilitating meticulous adjustments before capturing the image.
Stability: Bringing the camera to your eye creates a more stable shooting platform, especially helpful in low light or when using longer lenses. This reduces camera shake and potential blur.
Manual Control Affinity: EVFs often pair well with cameras that emphasize manual controls (dials, etc.). This encourages a slower, more deliberate shooting pace focused on intentional adjustments.
Back Screen Photography: Flexibility and Spontaneity
Adaptable Angles: Back screens, especially fully articulating ones, allow for shooting from perspectives that would be difficult with an EVF. This includes high-angle, low-angle, and candid shots.
Street Photography: Screens can be less conspicuous than raising a camera to your eye, ideal for street photography where you want to blend into the surroundings.
Videography: For video work, back screens are often superior for framing and tracking moving subjects.
Touchscreen Functionality: Many cameras offer touchscreen controls like focus point selection or menu navigation, enhancing ease of use for those accustomed to smartphones.
It’s Not Just About The Tool: Photographer’s Intent
It’s crucial to remember that the presence or absence of an EVF doesn’t automatically dictate a photographer’s style. Here’s why:
Experienced EVF users can be spontaneous as well: A photographer familiar with their EVF camera can develop quick reflexes and anticipate interesting moments.
Back screen users can be deliberate: A back-screen photographer can employ techniques like a tripod for stability. They might also rely more heavily on elements like depth-of-field visualisation to compensate for the lack of a real-time exposure preview.
The Takeaway
EVFs and back screens cater to different preferences and offer advantages in specific situations. Understanding these strengths makes a photographer more versatile. Rather than being mutually exclusive, sometimes the best approach is having a camera that offers both options!
20.1 MP Exmor R APS-C (Super 35mm format) image sensor with wide dynamic range
S-CinetoneTM for a cinematic look straight out of the camera without grading
Flexible ISO, Cine EI Quick and Cine EI Log shooting modes for optimized image quality
User LUTs can be applied to the LCD display and HDMI output and embedded in clips
Dual Base ISO and a 14+ stop range for wide latitude and low-noise images
Last update on 2024-03-29 / Affiliate links / Images from Amazon Product Advertising API
The Sony FX30 is a budget-friendly cinema camera that packs a punch. Here are the key points:
Features and Design: The FX30 is a video-first camera but can also capture 26MP stills. It outperforms Sony’s aging A6000 series and even gives the FX3 a run for its money. Cinema Line LUTs, log modes, and 4K 120p (with a crop) make it a versatile choice. Premium build quality adds to its appeal.
Pros: Cinema camera features and design. Cinema Line LUTs and log modes. Affordable price point. 4K 120p (albeit with a crop).
Cons: No built-in EVF (electronic viewfinder).[this did disappoint me] 3-inch rear screen feels small. IBIS (in-body image stabilisation) isn’t very effective.
FX30 vs. FX3 vs. a7R V Sony FX3: Essentially a reskinned A7S III for cinema users. Internal tech in the FX30 is all new. 26MP back-illuminated CMOS sensor.
Sony a7R V: 61MP sensor, more focus points, and higher resolution. Better for photography.
Why Choose FX30: Affordability: Full-on cinema camera at a mirrorless price. Stabilisation and AF technologies. Unlimited recording times and 4K up to 120p. New 26MP sensor matched with a fast BIONZ XR processor.
Lenses for Sony FX30 Wide-Angle Zoom: Sony E 10-20mm f/4 PZ G Lens or Tamron 11-20mm f/2.8 Di III-A RXD Lens. Wide-Angle Prime: Sony E 15mm f/1.4 G Lens or Sony E 11mm f/1.8 Lens. Standard Zoom: Sigma 18-50mm f/2.8 DC DN Contemporary Lens or Tamron 17-70mm f/2.8 Di III-A VC RXD Lens. Portrait:Sigma 56mm f/1.4 DC DN Contemporary Lens or Sony E 50mm f/1.8 OSS Lens. All-In-One: Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD Lens or Sony E 18-135mm f/3.5-5.6 OSS Lens. Telephoto Zoom: Sony E 70-350mm f/4.5-6.3 G OSS Lens or Tamron 70-180mm f/2.8 Di III VXD Lens.
Full Frame Lenses: If you’re already using full-frame lenses, consider the Sony 20mm f/1.8 or Samyang 18mm f/2.8.
It should be noted that I have included, in this series of photographs, images of a narrow lane that connects North Princes Street to Middle Abbey Street as well as the GPO Arcade. The laneway is named William’s Lane and while many accounts claim that it is no longer shown on maps I checked Google Maps and it is identified. And while no one appears to know why it is named William’s Lane I am suggesting the following – the name William’s Lane may well be linked to a son of King George, potentially William IV who also served as Duke of Clarence. This would align with the naming of Princes Street (discussed below). I had to visit the area a second time as some images were unusable because they showed homeless people who could be identified and that would have impacted on their right to privacy.
Princes Street North, a historic gem off O’Connell Street, offers a fascinating blend of past and present for locals and visitors alike.
Its roots trace back to Henry Moore, 3rd Earl of Drogheda, who initiated development in the northeastern part of the former St. Mary’s Abbey lands. Moore’s influence is still evident today in the names of nearby streets: Henry Street, Moore Street, and (North) Earl Street.
Originally, the street we now know as Upper O’Connell Street was called Drogheda Street. Unlike today’s bustling O’Connell Street, this street was narrower and primarily residential. The section of O’Connell Street extending to the present-day location of the Spire was part of Drogheda Street.
Luke Gardiner’s Transformation:
In the mid-18th century, Luke Gardiner acquired much of the old Moore estates in northern Dublin. Gardiner, known for developing Dublin’s first Georgian street (Henrietta Street), turned his attention to Drogheda Street. He demolished existing housing and replaced it with elegant Georgian townhouses. The street was widened to its current size, allowing for a central mall where affluent residents could promenade and display their finery.
The name changed from Drogheda Street to Sackville Mall or Sackville Street, honouring Lionel Sackville, the Duke of Dorset, who served as Lord Lieutenant of Ireland.
Princes Street North Origins
Princes Street North, situated just off O’Connell Street, has a fascinating history. It is believed to have been developed in part by the Dominick family, who played a significant role in shaping the area. [I have had difficulty confirming the Dominick family’s role] Princes Street North derives its name from the sons of King George III. Specifically, it honours the Duke of Rothesay (the title given to the heir apparent to the British throne) and the Duke of York. These royal titles were bestowed upon the sons of King George III during the late 18th century.
Freemans Journal
The office of the Freeman’s Journal was located on Princes Street North in Dublin’s city centre. During the 1916 Easter Rising, the building was heavily damaged.
Today, only one original property on Princes Street remains, preserving its historical significance
Metropole Cinema and Capitol Theatre
Metropole Cinema: Located on O’Connell Street, the Metropole Cinema opened in 1922. It was once a vibrant venue, hosting films and events. The Metropole was taken over by the Rank Organisation in the 1950s and screened popular movies like “Doctor Zhivago” and “Mary Poppins.” Unfortunately, it closed its doors in 1972.
Capitol Theatre: Originally known as the La Scala Theatre and Opera House, the Capitol Theatre stood on Prince’s Street, adjacent to the Metropole Cinema. Designed by architect T. F. McNamara, it featured a 1,900-seat auditorium with two balconies and 32 private boxes. Despite its name, La Scala was primarily a cinema. In 1927, Paramount Pictures took over the lease and renamed it the Capitol. The Capitol hosted live shows alongside film screenings. Notable Irish acts graced its stage. The last stage show occurred in 1953, and it continued as a cinema until 1972.
Demolition and Transformation: Both the Metropole Cinema and the Capitol Theatre were demolished. In their place, the British Home Stores (now occupied by Penneys) was constructed.
The GPO Arcade Is Off Princes Street North
The General Post Office was most famously the rebel stronghold in the 1916 Easter Rising. It, along with much of O’Connell Street Lower, was reduced to a burnt-out shell. The building was only cleared of debris in 1924 when the Free State government approved reconstruction plans, carried out principally by T.J. Byrne and J. Fairweather and reopened in 1929.
The GPO Arcade is an Art Deco-style shopping arcade situated at the rear of the General Post Office (GPO) complex. Accessible from both Henry Street and Princes Street North, this arcade has a unique charm that draws visitors and shoppers. The arcade was built by the Office of Public Works following the 1916 Easter Rising. Its construction aimed to enhance the GPO area and provide a covered shopping space for Dubliners. The GPO Arcade boasts an elegant design with polygonal glazed roofing. Its architecture reflects the Art Deco style prevalent during the early 20th century.
Medieval Origins: Liffey Street traces its roots back to Dublin’s medieval period. It formed a significant route connecting the city centre to the River Liffey’s quays, a bustling hub of trade and commerce.
Commercial Importance: Over centuries, Liffey Street evolved into a major commercial thoroughfare. It was lined with shops, warehouses, and businesses catering to the city’s growing population.
Architectural Variety: The architecture along both sections of Liffey Street presents a mix of styles. You can find Georgian buildings, Victorian structures, and more modern additions, reflecting the street’s changing face through the ages.
Upper Liffey Street Redevelopment, which was announced in January 2023 and has now been, more-or-less, been completed.
Project Overview:
Objective: To enhance the pedestrian experience and create a more vibrant urban environment. Cost: Approximately €6.5 million. Timeline: Construction began in January 2023 and has recently been completed.
Key Features:
Pedestrian Plaza: A new pedestrian plaza was developed beside the iconic Ha’penny Bridge on Liffey Street. This is a bit misleading as it is Lower Liffey Street that is closet to the bridge. [I suspect that the source of the information did not realise that “lower” means closer to the river and “upper means further from the river]
Upgraded Environment:
Liffey Street Upper [the Plaza] : Closed to traffic, this section now features benches, bicycle stands, and trees. Liffey Street Lower: Upgraded to create a more “pedestrian-friendly” environment. Currently, Liffey Street Lower is open to southbound traffic from Abbey Street to the quays. According to some reports the final configuration will mean that traffic on Abbey Street, including cars exiting the Arnotts car park, will no longer be able to access the quays via Liffey Street Lower. Instead, vehicles will need to turn right onto Strand Street and continue to Capel Street to reach the quays at Grattan Bridge. [Getting accurate information that I can verify has been impossible]
Completion Date:
The project was to be completed by the end of the year following its commencement in January 2023. It would appear that is not yet fully complete and this is especially true for lower Liffey street.
Pedestrian access was maintained during the construction period.
Background:
The idea for a Northside plaza emerged after the refusal of the College Green plaza project by An Bord Pleanála in 2018. Unlike the College Green scheme, the Liffey Street project was progressed through Dublin City Council’s internal planning process. The plans underwent public consultation and were approved by city councillors in September 2019. Although initially scheduled for mid-2020 completion, work was delayed due to the Covid-19 pandemic. This revitalised space now offers Dubliners and visitors a pleasant area to stroll, rest, and enjoy the cityscape.
I THOUGHT THAT I HAD MADE AN ERROR BY REFERRING TO IT AS CABRA PARK LANE IN THE PAST
It’s a small lane connecting Cabra Park and St. Peter’s Road and it is situated in Phibsborough which is frequently described as a vibrant neighbourhood on Dublin’s Northside.
Previously known as Cabra Park Lane. The recent name change to St. Peter’s Lane is a reference to the nearby St. Peter’s Church, a prominent landmark on the North Circular Road. As a matter of interest there another location for street art on the Southside named Peters Place near Charlemont Tram Stop.
Was An Urban Art Hub
St. Peter’s Lane had gained a reputation as an open-air canvas for street artists and one could expect find vibrant murals, stencils, and other forms of street art adorning its walls, making it an interesting spot for photography enthusiasts. Back before the Covid-19 lockdowns the artwork was ever-changing, so you might find something new on every visit!
Ambiance
The combination of street art and older surrounding architecture once gave the lane a unique and somewhat bohemian atmosphere and as it was much less known than other similar locations it offered a more “local” experience.
How to Find It
If you’re exploring Phibsborough, St. Peter’s Lane is easy to find off St. Peter’s Road or along Cabra Park. Online maps will guide you precisely, and websites like Excellent Street Images (my site) feature extensive photography of the lane’s artwork.
Additional Notes
According to a not so current tourist guide “due to its growing popularity as an artistic spot, expect to encounter other people appreciating or photographing the artwork. However, Like any urban environment, be mindful of your surroundings”.
Today there were three elderly women who appeared lost and somewhat horrified by the condition of the complex of lanes and I was the only photographer.